NO MORE

Suzana Varvarica Kuka

Contemporary artists have reasons to explore all mediums to achieve their desired aims, and Rrezeart Galica – Giqi, a Graphic Designer/Artist, has the determination to confront his audience fearlessly, through his art, with all his creative genius. This can be qualified as Conceptual Art, expressed through an advanced ‘Graphic’ language.
Rrezeart Galica – Giqi is one of the boldest visual artists in Kosovo. His visual language is sharp, hearty and critical, and it has the ability to make others aware of all the acute issues that have been present in Kosovo in the last decade. Kosovo’s battle for an independent state is not something that has just popped up out of nowhere, but difficulties and complications brought problems, and these problems and complications became Galica’s firm ground for ideas to be turned into art pieces.

The Personal exhibition “NO MORE” is a retrospective look at his work thus far, the work of an active and young artist on the problematic cultural issues of his country. He has proven that he can use all technical elements in a creative way, and all theories of Graphic Design, like photography and modern technology, to create a graphic art piece.
Visual evaluation of the images in his graphic art starts from the clearest point, which technically we can name Graphic Design. The artist’s creative mood in every piece of art, be it Graphic Design or photography, or the pieces chosen for this exhibition, are clearly shown and composed of three main elements; linear drawing of two-dimensional objects; black and white and coloured graphics into organic two-dimensional objects at the centre. Here also is placed the thematic design. The third element determines the eruption of the silent or visual idea, of the topic or subject, which can be drawn from the final composition of the linear drawing or from the balance of the colours.
Evaluation through artistic criticism of the art that Galica proposes for this exhibition, takes a more discrete form, and it seems to sideline the abovementioned elements. This happens, because in my personal opinion I see clearly enough his capability. This capability is at a meaningful level of quality and puts the appearance in front the viewer, and it screams the messags loud and clear in a very important manner in every art piece of art. Thematic image at every piece of art, incites the artist’s longing, to impose on the public personal ideas, human and social phenomena, whether they be local or global.
My personal evaluation of Galica’s artistic work is that it is carefully addressed to an audience that knows organic situations that have occurred in our modern life and in our modern space. Within this reasoning, I don’t think that the three German colours is a mere formality, on the image of three auto-heads of an individual like Galica himself. I think that he feels it to be a general obligation towards the atmosphere that he is going to create himself and that of the space where he is going to have the exhibition. And, naturally, such a creative luxury is given in a very sophisticated and delicate manner by Graphic Design. The same would be very salacious, if expressed by a similar piece of art in a shape of a canvas painting.

Galica presents his high political sensitivity into the compositional formulation of the piece called Tripoli (Tripoli, one of the archeological cities with international importance for the world history). The images in this piece take you with a staggering speed in the middle of the Tripolitanian battle fields and into the whole of Libya. Injustice and the huge economic and social misbalance, international foreign policy, a nation and its Government, aggravated the revolt and the massacre to an animalistic level. This is unacceptable since by now it has been proven that the world of global ideas could have solved the Tripolitanian problem in a more tolerant and democratic manner.

Galica presents a strong sense of demand and responsibility towards the natural, political and economic world. His figure speaks clearly and powerfully in the piece of art named “The World is Mine”. I don’t want to think that he has created this image based on individualist theories, since this would bring dictatorial infection or a pure hangover against the super-human-being. Instead, it distributes the message to every corner of the earth, by making every one of us more responsible towards our beloved world.

The author has a well organised and clearly expressed self-interest, when he takes upon himself to present the worldly intellectualism, the two sided irony in the graphic writing “Kosova thanks you!”. Our beloved English language is interpreted here through intellectual manageability of the artist, who, of course, shows Kosovo’s appreciation towards all the countries of the world, at the same time, all world policies that used Kosovo’s territory on discreet issues strikes of irony.

He and the design, feel that personal creativity is an elegant and stinging irony in the pieces of art like; tUNg, Keep UN going, EUSEX, which are purely entangled with the issue “Kosova and the World’s political community.

All of them have a design where one can see clearly the message in the images about the historical developments of Kosovo, in its efforts for independence and in building a state of its own.

Pieces of art like photos titled “Water word and RIP Portrait, are free expressions of Galica. They are compositions and harmonic findings and evaluations of their centre and vice versa; their centres evaluate and fully bring to the front his chosen idea and the chosen theme.

Galica has organsed all the creative elements, to give a strong emotional and imaginative opportunity to a global phenomenon over our solar system. The scientists have referred to it, for a long time now, as a degradation of planet earth. Perhaps, just perhaps!!!

In this exhibition based on a series of pieces of art from Rrezeart Galica (Giqi), we will confront the atmosphere that has been created by the interaction of objectivity of artistic elegance and formal design with the constant problematic phenomena reappearing in Kosovo as a new state in the Balkans and Europe.